Sound is attractive. It catches the ear, enchants, disturbs, and scares. But it is also imperative. Sound is both a means and an end. The decisive interest devoted to the “strange” reflexivity of sound became a paradoxical instance of art, music and philosophy in the twentieth century. Further, it has encouraged the emergence of a genuine “paradigm of listening” from which I take steps to trace the event of a conceptual category of plastic art so called Sound Art : Art of Sound, that reflecting on itself, defines its own historical context.